Strange wooden creatures with squared heads — some with mouths, some without — watch me from the periphery of an area that is both wild and carefully manicured. Sounds issue from the sentinel boxes: odd tunes that might be a blend of ambient noise, and garbled speech combined with the early synth-pop ruminations of Thomas Dolby. Or they might be sounds that issue from a young Baba Yaga’s sternum.
In this enchanted forest there are metallic-glazed ceramic cairns vertically stacked so they too look like guardians of this liminal realm. The music that wafts through the space also comes from the wooden speakers on which they rest. I confront a version of myself in a mirror piece that is imprinted with multifarious branches like the respiratory tracks of a human lung. There is painting too, such as “Mosaic Diptych” (2018), which has shadowy branches in the background, with jagged, raucously colored strips layered on top. I wandered into this fey place because of the simultaneously futuristic, yet primeval objects, but the music furtive and mesmerizing made me stay.
The occasion for putting these objects together is the show J Ivcevich: Trail of Mystics, described by Garvey/Simon gallery as “an immersive, multimedia exhibition showcasing the artist’s most recent paintings, sculptures, ceramics, and sound design.” However, such a description is frequently attached to work that ends up looking like the dog’s dinner. But here the work realized by J. Ivcevich is constructed with a sense of wonder, curiosity, and a sense that losing one’s way in the forest coming back from grandma’s house makes for the most compelling tales.
As much as I appreciate the collective’s culture jamming initiatives, I don’t know that their putative premise ever bears meaningful fruit.
The banana’s dominance and ubiquity has had serious and far-reaching implications for the region, engendering exploitative labor systems, climate change, and migration.
The first lecture is on the relationship between early portrait photography and diverse notions of US identity during the Gilded Age. Register to attend on January 25.
Charles Dellheim’s study tells the tale of a small group of Jewish art dealers and collectors who played a key role in the changing art world of the 19th and 20th centuries.
The 18-month fellowship aims to provide artists with “as much access as possible” to the club’s facilities and networks “at a time and place convenient to artists.”
Part of the university’s Artists on the Future series pairing renowned artists with cultural thought leaders, this online event is free and open to the public.
A coalition of investors raised funds to purchase the film’s storyboard and announced they would “make the book public.”
A new project, “Emoji to Scale,” orders every mini-object by their real-world dimensions.
Although Khedoori does not depict living beings, their presence is evoked in the traces they leave behind.
The Bronx Museum’s fifth biennial continues to focus its programming on individual identity, eliding the ever-divergent interests of the art market and local communities.
While it may be strange to think of food insecurity as a basis for art, the works in Food Justice reveal barriers and injustices in food access.